“Intellectual property (IP) law, especially copyright law, has historically developed both as a means and as an end of cultural development. Book publishers, writers, and other types of creators have benefitted significantly from the economic—and, in many jurisdictions, the moral—rights granted by the legislation. These norms have aimed, with varying intensity, to both provide a shield for creators against the unauthorized appropriation of their works and to incentivize authors and other members of the society to innovate and create new works. The necessity to analyze IP law from a cultural perspective is therefore self-evident. Indeed, the importance of this research grows rapidly, due to the massive suppression of moral and pure cultural interests of creators (and groups of people) by the economic interests of aggregators and disseminators of cultural goods. It is equally understandable that the reviewed book uses the widely accepted expression, cultural industries (CI) in its title. Culture has become a form of industry, rather than just a collection of social values. Culture has become a battlefield for legal, economic, social, political and many other interests these days. As Professor Philip Schlesinger points out in his chapter, ‘[Article 151 of the Treaty on European Union] offers considerable scope for culture to be used instrumentally for political purposes’.”

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